We Should Watch That
Weird neurodivergent couple, Ashley and Sushi, discuss recent theatrical release movies and current TV episodes from the past week. May contain TV spoilers! Uploaded weekly on Friday mornings.
We Should Watch That
The Odyssey (2026) & The Invite (2026) + Silo S3E3 Recap | WSWT Ep 17 - Jul 24, 2026
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This week's movie reviews:
- The Odyssey (2026)
- The Invite (2026)
This week's TV episode recaps:
- Silo (Apple TV) - Season 3, Episode 3 - "A Dark Web"
- Upcoming: Recaps for new HBO/HBO Max series, Lanterns, begin next month, starting with the Series Premiere on the August 21st episode of our podcast
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Intro
SPEAKER_02This week we're reviewing two movies that have to deal with scheming. One dealing with the aftermath or consequences of it, and the other that's about growing awareness of it, and the lead up to the reveal of the scheme, I guess.
SPEAKER_01Mmm. Weirdly, that does pretty much describe this week's movies. We got The Odyssey and The Invite.
SPEAKER_02And for TV, we'll be discussing Silo Season 3, Episode 3, A Dark Web.
SPEAKER_00Anyway, uh, look over there. It's time to start the episode.
SPEAKER_04We should watch that episode 7.
Movie Review: The Odyssey (2026)
SPEAKER_01Okay, folks, I know what time it is. You know what time it is. Every movie nerd in America definitely knows what time it is. It's Odysse Time! That's right, Christopher Nolan is back with his latest blockbuster. And because he's Christopher Nolan, he once again shot the film using IMAX film cameras, specifically IMAX 70mm. Because apparently, you know, go big or go home is just his default setting. The movie stars Matt Damon as Odysseus, alongside Tom Holland, Ann Hathaway, Zendaya, Lupita Nianko, Robert Pattinson, John Bernthal, Himesh Patel, John Liguizamo, and just about a dozen more actors who could probably headline their own movie. If you've somehow managed to avoid hearing this story over the last, oh, 3,000 years or so, uh, the Odyssey follows the Greek hero Odysseus as he tries to make it home after the Trojan War. The only problem? The gods have other plans for him. So what should have been a pretty straightforward trip turns into an absolutely bonkers' journey filled with monsters, mythical creatures, impossible choices, and just about every terrible thing ancient Greek mythology can throw at a guy. Meanwhile, back home, his wife Penelope and son Telemachus are desperately trying to hold the kingdom together while the rest of the world assumes Odysseus is never coming back. So, sushi, what did you think?
SPEAKER_02Well, I didn't read this as a part of any school curriculum, nor am I one of those dudes who is really into ancient Rome and Egypt. Honestly, while I'm on the topic, I don't even know when that started happening. I'm guessing around when the TV show Rome was on HBO. Uh anyway, given that, I guess I kind of went into it blind. I mean, I did see Troy back in the day, and I'm aware that the story in that movie took place during the Trojan War, and this is basically the next chapter, so maybe I had some context, but still not much. Good thing the trailers have been pretty good at fleshing out a general overview of the plot. Yeah. Dysus won the Trojan War, but still hasn't returned home to his wife and son yet. But Robert Pattinson's character and a bunch of other nasty dudes are like, Your man's dead. Pick a new husband, me.
SPEAKER_01Yeah, yep, yep.
SPEAKER_02But yeah, once again, we have Christopher Nolan doing his usual thing of retelling an epic story with an ensemble cast of some of the biggest names in film currently, likely showcasing some of the most impressive visuals ever captured. And what else? But IMAX cameras.
SPEAKER_01The splendor of IMAX.
SPEAKER_02Yeah, personally, I generally enjoy Nolan's movies, though I feel like he's made so many great ones so consistently over the years that I admittedly don't get as excited as I used to over announcements for them. Beyond that, I was slightly concerned, not about the overall experience with the film, because again, I was pretty sure the movie was gonna have great acting and would look great. But specifically regarding the pacing, because it's someone with ADHD. If there's anything that can ruin a three-hour Nolan film, it's having full awareness in the slower moments that you are in fact sitting through a three-hour Nolan.
SPEAKER_01Yes, yes, yes.
SPEAKER_02That snowballs into checking the time and then wondering if you actually feel like you have to pee or if it's just in your head, and then it's the whole thing.
SPEAKER_01Oh my god.
SPEAKER_02Well, I'm happy to say this movie had some great pacing. Yeah, I think about 30 minutes into the movie, I felt pretty confident that I'd have little to no urge to check the time. So, to anyone out there who hasn't seen it yet, but also likes having some awareness of that kind of stuff ahead of time, you are all good to go.
SPEAKER_00You good?
SPEAKER_02Yeah. Uh, there probably isn't a whole lot to say about the writing, given that it's based on Homer's poem of the same name, but I was at least curious as to how well Nolan's decision to use modern accents and dialogue would play out. Yeah. Thinking about that, I truly believe one upside as far as timing in the release of this film uh was that it came out after Gladiator 2.
SPEAKER_01Oh my god.
SPEAKER_02I don't know if you all remember all the talk about Denzel being in that movie and just doing it his normal accent. Regardless of how much we joked about it leading up to and during the movie, and even making fun of the fact that he says lines like, hose them off. Oh my god, where horses hadn't yet been invented. We eventually still accepted that movie as it was, and I don't think it affected most critics and audiences from being able to respond mostly positively to Gladiator 2. That movie, I think, in a way proved that you could still manage to be successful releasing a film that might have some unusual outlier elements, like a single American accent among an entire cast of British or European ones, as long as the rest of the movie was well made and well received. With that said, even though I do think that the visuals are probably the biggest selling point of this specific Nolan movie, I don't think that would have been the case if the cast wasn't as strong as they ended up being. Yeah. But this cast is comprised of some of the hottest names in movies currently across the board. And I really felt like everyone in this cast really was able to showcase at least some aspect of what has really made them recognizable, which I thought was cool. Uh, since this wasn't an ensemble cast, I'm not going to spend the time to talk about each of the actors, but I do want to highlight some performances. Tom Holland, I thought he did a great job playing Telemachus, uh, Odysseus and Penelope's son. I think his whole personality that we're used to as Peter Parker or Spider-Man, with the whole being loyal and this desire to stand for good, but also being naive and responding very emotionally to certain challenges that he's faced, carried over well into this role from that role. Anne Hathaway, when I saw her in this movie, I was like, huh. I guess it has been a while since we've had uh a really dramatic Anne Hathaway role where she goes as far as crying and screaming in the role. But then I remember we reviewed another movie she was in where she did at least one of those things, either crying or screaming a fair amount in Mother Mary earlier this year. But in all seriousness, this is definitely one of those dramatic roles she plays in a high-profile, large budget studio film that we know she's just always good for. So just more consistent work from her. John Legazzamo is Odysseus's blind servant. Man, given that he doesn't really play many roles where he does the whole makeup and prosthetics transformation to play a character. I really like this role, and I think he embodied the mannerisms of the character in a way that felt really believable. Robert Pattinson playing Antinius, who's trying to marry Penelope and take over Ithaca. I love this character because I think I low-key just like when Pattinson plays dirty, sleazy characters. Yes. I don't know. I think he's kind of slimy and squirmy, if that makes any sense.
SPEAKER_03Yeah.
SPEAKER_02I mean, I always remember that people said dude didn't shower during the filming of Twilight movies. Oh, yeah. And I just remember people just claimed it was a rumor. They're like, oh, that's just bullshit, man. People just talk at shit. But I didn't think it was. Seriously, he's really good at playing kind of awkward, fleazy dudes, and he's great in this movie. And then John Berthall as uh Menelaus, King of Sparta. So uh if there was one person who was gonna take me out of the moment with this movie, it was obviously this guy. Even though I gotta say, the fact that I haven't dwelled on it and moved on to enjoy the rest of the movie says a lot.
SPEAKER_04Yeah.
SPEAKER_02But I was told I'm supposed to do impressions whenever I can on the podcast. So here's a line reading from the movie.
SPEAKER_03You don't look like a beggar. You must know who I am. I'm Menelaus, son of Atreus, brother of Agamemnon, husband of Helen. Perhaps you've heard of Helen, the face that launched a thousand ships, but maybe now just five hundred.
SPEAKER_00Oh damn.
SPEAKER_02Alright. Moving on to the strongest aspect of the film, as with many Nolan films, the visuals. Set design, props, costume, makeup, practical effects, VFX. Historical accuracy, be damned. I just love the overall look and thought that it was amazing and worked well with this tendency for much of the design in this films to seem muted but still very clean and have a very strong presence. The highlights for me, I think, design-wise, were the set design of Troy and the design of the Trojan horse. I thought that was really well made, a very Nolan-esque design, which I'll kind of get into a little bit more later. The ship design and the cinematography for the ocean scenes.
SPEAKER_00Oh, yeah.
SPEAKER_02I'm not even trying to be a dick when I say these scenes look so good. Made the seaside and ocean scenes in that live action MOA.
SPEAKER_01Oh my gosh.
SPEAKER_02The week before, even worse than we already thought.
SPEAKER_01I think you're the only one to compare those two movies ever.
SPEAKER_04We just saw like the week after.
SPEAKER_02How could I not think about how badly that shit looked? Yeah. And how good this looks now.
SPEAKER_01Yeah, it looked incredible.
SPEAKER_02Yeah. Next, Agamemnon's helmet and costume. I guess I also give props to Benny Safty for being able to seem stoic and imposing in the whole getup. But yeah, it was really cool. Next, uh mythological beings.
SPEAKER_04Oh, yeah.
SPEAKER_02I wasn't really sure if I had liked the look of the Cyclops based on what I saw in the trailer, but seeing it in the movie, especially how much time it's actually on screen. It really was unique, and the VFX were really well done, even in the scenes in daylight. I also love the design of the giants, especially with their bright, smooth textured armor, which I think really contrasts with the darker, seemingly rougher textured armor that the humans have. I don't know if Ashley will agree on this next one, but I think the fight choreography was pretty solid for a movie rooted in mainly use of ancient Greek weapons. Even though maybe the intensity of it was similar to the fighting in the gladiator movies. I think most of that's because this movie let the visuals do more of the speaking. The score was more an accompaniment to like enhance what we're seeing on screen. I guess the best way I can put it is the music and sound was an aspect to a given shot or scene rather than them being a musical composition that just conveys the overall presence or the emotion of it.
SPEAKER_01So it served individual.
SPEAKER_02Yeah, so basically, like the sounds and the and the visuals that you were seeing and hearing in the actual shot translated or connected somehow to what you would hear in the score. So for my ratings, I gave this a four and a half for enjoyment and a four and a half for quality. I think this is probably my favorite non-Batman Nolan movie so far. I had some very minimal worries over this being another three-hour movie after I admittedly felt that Oppenheimer dragged at times.
SPEAKER_00Yeah.
SPEAKER_02But I think that the amazing job and keeping the pacing so consistent was ultimately what allowed me to stay engaged and really enjoy the collective effort that was put into the movie.
SPEAKER_05Yeah.
SPEAKER_02And while it's obvious that not every movie that we find highly enjoyable is also a movie that most would consider high quality overall, I don't think this is one of those movies where you'd find many who would or could argue against this movie being extremely well done. The actors all come to deliver their best, everything looks great. But again, with that very characteristic classic but clean Christopher Nolan look that just looks amazing on a large scale, is this? If you enjoyed the characteristic look of his props and set design, which before this was probably relegated to more Batman and the sci-fi offerings that he made, I think this movie really was a great return to that vibe after skipping it on Oppenheimer, since that was more of a period film and you can do the design with that one. Ultimately, I think the experience that kind of really drove home that I really enjoyed this movie and thought it was really well made was this. If two appearances by Travis Scott bookending movie didn't completely take me out of my immersion of the movie, I think that says a whole fucking lot.
SPEAKER_01Yes, I was dreading the Travis Scott of it all.
SPEAKER_02Yeah, and as a reminder, because I think I'm obligated by Cactus Jack and Epic Records, every time I mention him, I also have to bring up that Travis Scott was the person who invented getting fucked up.
SPEAKER_01Oh my god.
SPEAKER_02Uh moving on. My recommendation this time is uh just related to the story from the Odyssey, I guess, which is Troy, the 2004 movie starring Brad Pitt. Using movie terms, it's basically the prequel to the Odyssey.
SPEAKER_05Okay, okay.
SPEAKER_02Not as good, but probably similar in scale as far as the production goes. Brad Pitt has nice hair in this, I guess. That's what I remember. Well, that in Orlando Bloom's character was kind of whiny, but I think that was about it. But yeah, that's my recommendation. Uh what did you think about the Odyssey?
SPEAKER_01Okay. I've got a couple prefaces. So before I talk about the Odyssey, I gotta talk about the psychological state I was in. Okay, this is a two-hour 52-minute long movie. Okay, it's not technically three hours, but spiritually, it's three hours, okay? And I spent the whole day preparing not to pee. I was rationing my water. I had dry mouth lozenges. I was treating this movie like I was crossing the Mojave Desert. Because if you have ever been to AMC's IMAX theaters, you know that getting to the bathroom, it's not just getting up. It is an obstacle course. There's no room between rows. Everyone has to stand up. You can't steady yourself against the seatbacks because they rock back and forth. So you're like shaking people trying to move, and then someone ends up spilling something. So I went into the Odyssey nervous. One, I wasn't sure if my bladder could survive it. And two, I wasn't sure if Christopher Nolan could because I got some reservations. I have kind of a complicated relationship with his films. I absolutely love the prestige and inception and memento and the dark night, but man, Tenet lost me. You know this sushi. It's a sticking point in our relationship.
SPEAKER_02Why? Because I choose to watch it on every flight that I'm on. Stop it.
SPEAKER_01Stop watching Tenet. But uh, I just thought that movie was so cold and sterile. It was basically like backwards stay the movie. I didn't think it was that deep. Then I admired Oppenheimer, but I was really frustrated by the way the female characters are portrayed. And I found it a little too pretentious the way it was structured. So I went into the Odyssey, like, all right, impress me. And um God, that shit was entertaining. It was phenomenally entertaining. I forgot all of my reservations because the movie keeps evolving. Every time I thought I knew what kind of a movie I was watching, it became something else. One minute it's an epic adventure, then it's a survival story, then it's mythological fantasy, then political intrigue, then it's a surprisingly intimate character drama. And it feels like 10 stories wrapped inside one giant story. Now that of course owes itself to the original material. And I have to say, as someone with ADHD, yes, thank you. I love things changing every 20 minutes. And I spent a lot of time thinking about the movie because I felt so differently about it than I have with Nolan's more recent work. And I think it's because he just trusted that it was a good story. He wasn't trying to reinvent it. He wasn't wrapping it up in different timelines or asking me to solve a puzzle box. He just took one of the greatest stories ever told and said, What if I just tell this really well?
SPEAKER_02Just do the best of what he does and apply it to this already time-tested story.
SPEAKER_01Exactly. I love that he didn't complicate it. I think what surprised me most wasn't actually the scale, it was the humanity. It is one of the warmest movies I've seen from Nolan in a long time. The relationships really matter. There's all these beautiful, quieter conversations between family members and foes. It's just really great. Uh, the characters are making decisions because they're scared or they're proud or lonely or in love, but not just because the plot needs them to to get from point A to B. And that's something I just haven't seen from him in a while. I also found Odysseus incredibly interesting and loved Matt Damon's performance because, yeah, he's the hero, but he's also an asshole. And those two ideas don't contradict each other. My brother, who is someone who knows a lot about this time period, much more than me, Miss talked about how that is definitely the modern interpretation. And he really liked the way it's portrayed. I definitely did. I appreciate it also that the qualities of Odysseus that make him this legendary leader are also the qualities that create some of his biggest problems. You know, he's brilliant at solving what's in front of him. He's not always great at thinking about what those decisions are going to cost later. And I think the reason the story has lasted for uh 3,000 years is because of how well it gets to that root of that human contradiction. And I have to say, wow, speaking of mythical creatures, you were talking a little bit about the Cyclops. God, I loved how it looked. And I loved the way instead of making it look like an old swords and sandals movie, you can really see the texture of the skin. You can see it's Seemed human in a way. The way I was designed, it's almost like its face was stretched to the side. It was really interesting. And even though, yes, he's technically considered a monster, I had so much empathy for that character and many of the other mythological creatures here. Cast is awesome. I talked about Matt Damon. He's great. Robert Pattinson, ooh, delicious, delicious evilness. He reminded me of Alan Rickman in Robin Hood. He is just mustache twirling, having the time of his life. Himesh Patel is amazing. He is one of those guys that I am always just thrilled to see. I'm so excited to see his career grow. And then, oh my God, John Leguizamo. I am so happy every time I see him because he is so funny the way I sort of first learned about his career. I thought of him as more of a comedian. And as his career's progress, it's been amazing to see him get to do those roles with a greater weight to them because he has a real intelligence to the way he performs as well as some real vulnerability. Anne Hathaway, fantastic.
SPEAKER_02Love her performance. Annie Hathaways.
SPEAKER_01I will say she did give me a jump scare one point when she yelled, though. I was like, whoo!
SPEAKER_02This movie did have a few jump scares in it, which I was kind of surprised by. I was just like, oh, okay. But they're not the usual type of things. I well, actually, let me rephrase that. I just think we're not used to seeing them in movies like this for things that they're not necessarily scary, but they're just things that you were not expecting that came out of the way.
SPEAKER_01And yeah, the visuals are so good. So good. Also, I think the best moot looking movie Nolan's done in a long time. Um there are images in this movie that are really gonna stick with me. I love how real and yet fantastical things look.
SPEAKER_02Damn. You know what Nolan's movies always remind me of?
SPEAKER_01What?
SPEAKER_02Like a fancy rich person's fucking study.
SPEAKER_01Oh my god.
SPEAKER_02You know what I mean? Everything is either like wood grain or some beautiful old precious metal that's weathered, but it's still very smooth and sleek. That's what I meant about the look of this movie. It's like it doesn't always work, but this movie, for some reason, it did. Like, even the weird smooth armor of the giants where and I think when I first saw it, I was just like, Oh, I don't know how I feel about that. But then being shown the contrast to the trees and everything around it, it looked like so good.
SPEAKER_00I'm just like great.
SPEAKER_02Why does it look good? Like, you know, stuff back then wasn't going to look that clean, but man, in the look of Troy, I was like, God damn.
SPEAKER_01It looks amazing, Ithaca looks amazing. The Trojan horse stuff, oh boy, okay. I mean, I don't know. It's hard to say, is anything a spoiler in this, but I will just say I haven't totally delved into making of stuff behind the scenes, but one thing I did learn is they actually did build that horse and really did put it on the water, have it sink in to the sand, and then have to drag it out physically.
SPEAKER_02Yeah, it does not look like when it's CG, a lot of the time it's easy to tell that it doesn't really have the physical weight. Everything has weight in this movie, everything has physical weight in this movie. Absolutely, yeah. I wouldn't doubt that it just actually has it, but I think anything that may not actually have the weight has the look of it, and the actors definitely play it off.
SPEAKER_01So yeah, and uh you sort of uh leaned into this a little bit. So as far as the fighting goes in this movie, overall, I would say 80% of it I really enjoyed. Now it's not the same kind of fighting or action as you're gonna see in a martial arts movie. A lot of it is more you're seeing the strategy of the fight, you're seeing how they attack a new area, how they work together as a team, like the choreography. It almost makes me think of a marching band. You know, they're doing formations. There is one fight near the end, which is a fairly critical fight that I didn't enjoy. And that wasn't because of anything to do with the actual design of the fight. It just was the shooting style. And I understand why it was done. I think it was trying to give you a frenetic feel, but there was just camera movements, close-ups. It just was a little hard to follow the action in a way that I gotta be honest, I was worried I was gonna get a migraine.
SPEAKER_05I started getting some tension in my head.
SPEAKER_01But overall, really enjoyed it. And okay, is this movie too long? Three hours? Honestly, I don't think so. No, it covers so much, none of it seems like it's extra. It all seems vital. The pace keeps up, everything plays together beautifully. That being said, the Odyssey being nearly three hours leads into one of my hottest film takes. Okay. American movie theaters need to bring back intermissions. Seriously. Indian cinemas figured this out years ago. So many of their movies are actually structured around, they call it an interval, but essentially an intermission. It's genius. The story builds to a huge moment. Everyone gets up, they pee, they get popcorn, they debate the first half. You come back ready for the second. It's better for the audiences and the theaters. And considering that Hollywood keeps making three-hour movies, why are we pretending we don't need this? And I think it would really lend itself well to this story in particular, considering the almost episodic nature of the original and the film itself. So, anyway, that's just me on my soapbox. But if you're gonna ask me to sit in a theater for 172 minutes, this is how you do it. Uh, I was enormously entertained. I laughed, I was invested. I really cared about the characters, so much more so than I have in Nolan movies of late. And I just kind of walked out thinking this is what a big movie is supposed to be like. This is what I want from a big blockbuster zeitgeist type of movie, because everything is just really working. The story, hey, they honed it 3,000 years ago. You're good to go. The acting, all spectacular, the costumes, the visuals, it just is beautifully, beautifully done, and something that I think you can take just about anyone to the theater to see. So for ratings, I gave it 4.5 for enjoyment. What can I say? I had a blast. It was three hours flew by. I was excited to see what came next. Quality, 4.5. I think it's a really great adaptation. It's emotionally grounded, beautifully acted. I loved it. What can I say? So really, really quality entertainment.
SPEAKER_04Yeah.
SPEAKER_01Wow. And it only took 3,000 years of development.
SPEAKER_023,000 years of development and some smooth ass armor.
SPEAKER_01Yeah. And this is one where I didn't get have enough time to do a ton of the behind-the-scenes stuff. But from what I've seen, it's really fascinating. I know that, for example, in the scene where they have Giants, they had a very short woman stand in for Matt Damon because her size compared to the size of really tall actors playing Giants gave that contrast. So there's a lot of really interesting old school filmmaking. Oh, yeah. Absolutely. I can't wait to dig into that some more over the coming weeks.
SPEAKER_02Nice.
SPEAKER_01All right. Well, we've got a movie of a very different scale up next.
Movie Review: The Invite (2026)
SPEAKER_01All right. From one massive blockbuster to four people in an apartment. Our next movie is The Invite, directed by Olivia Wilde, making her a third feature after Book Smart and Don't Worry Darling. Wilde also stars in the film alongside Seth Rogan, Penelope Cruz, and Edward Norton. And the movie follows a not so happy couple living in San Francisco who seem to spend more time arguing than actually talking to each other. Then one night they invite over the upstairs neighbors, a free-spirited couple who let's be honest, you can tell from the trailer, they want to swing. There's swinging stuff going on. But while this is technically what the movie's about, it's also really not. I found that it ended up going in a much more thoughtful direction than you might expect at first. Uh, what you think, Sish?
SPEAKER_02Well, I didn't know shit about this movie before the trailer. But man, after the first trailer, I kind of assumed it was about swinging.
SPEAKER_00Oh yeah.
SPEAKER_02Then I saw the second trailer, and yeah, by the end of it, I was like 90% sure it was about swinging.
SPEAKER_05Mm-hmm.
SPEAKER_02But I guess I should also mention the premise is that this couple in a troubled marriage, played by Seth Brogan and Lavia Wilde, invite their neighbor couple, Penelope Cruz and Edward Norton, over for dinner to change things up a bit. Of course, I also recognize the cast and don't really find any of them especially offensive, though I know Ashley has a thing against Edward Norton wanting to write his own dialogue.
SPEAKER_00Yeah, a little bit.
SPEAKER_02And I might subconsciously dislike Olivia Wilde from her character on the OC show that I admittedly was a huge fan of. Love it. Anyway, I don't know if it was ADHD or what, but we're suckers for trailers that seem to revolve around some major mystery. I know we tried to see it last month, only to find out that it had a limited release at the time. Yeah, that's right. So we didn't actually get to see it until this past weekend. By the time of this review, it should be out in all markets across the US, and I imagine it should stay for a bit at least, since both critics and audiences seem to really be enjoying it. So seeing this movie, it really wasn't what I was expecting.
SPEAKER_01Yeah, I agree.
SPEAKER_02Yeah, I kind of went through a roller coaster of emotions with this movie. First thing I kind of have to get out of the way is that I didn't realize there'd be so much fighting happening on screen. So if you're someone who doesn't really enjoy that kind of stuff, just be aware that it kind of happens for what felt like at least a third of the movie.
SPEAKER_01Yeah, if not more.
SPEAKER_02But I truly think it's worth sticking it out because I feel like this movie is one of those that you just have to experience fully to truly enjoy.
SPEAKER_00Yeah.
SPEAKER_02If you happen to hear this after walking out on it. Seriously, either go back and see it all the way through or at least wait until it comes to streaming and rewatch it then. Someone who's personally experienced close friends being in toxic relationships over the years. I really think Seth Rogan, as Joe and Olivia Wilde as Angela, are incredibly believable as a toxic couple. It's not that they're always angry at each other or truly hate each other, but there's so much resentment between them. That they can't help but blame each other for their situation. Like everything in their situation. I really think that nuance in how they fight and that raw realism of how it looks and feels as somebody witnessing it is one of the aspects that kind of made this movie so good. Penelope Cruz and Edward Norton as the eccentric neighbor couple. Man, I loved how they played these characters because you really feel like that's how they're going to be in this movie for a while. Characters based on existing archetypes. But as the movie progresses, it kind of begins to explore the depth of them. At least for me, I ended up feeling like the filmmakers didn't want to really examine them as people, though.
SPEAKER_00Oh.
SPEAKER_02I I feel like they just wanted to leverage them to provide contrast to Seth Rogan and Olivia Wilde as a couple. Just because I don't really feel like we fully cement them as people. It feels like every time we're about to have that happen, they pull back on it by making them seem like characters again.
SPEAKER_01You know, they're almost like facilitators for the I kind of felt.
SPEAKER_02It's really less about them, so they're more used as a tool to show how extreme or how bad of a hole the main couple has gotten into. Moving on, there weren't a ton of flashy design elements. This isn't really that type of movie. But like I was saying Ashley when we saw it, this movie really employed some time-tested techniques that have been used in some of the most critically acclaimed films in the history of film. So much so that given how good this movie was overall, I really thought it'd be a great example to use a film 101 course. Like one of the elements that I caught on to really early on was the cinematography and specifically how much the camera angles and framing utilized to represent emotions felt by the characters or kind of incite feelings in the viewers. There are certain scenes in this movie where there were honestly so many vivid examples of it happening on screen, it's almost difficult to miss.
SPEAKER_00Yeah.
SPEAKER_02The other technique I noticed being utilized pretty heavily was just leveraging the score to kind of affect emotions similarly to how the cinematography was used. I think the strongest example of this was a scene where there's increasing tension during an argument, and you have this cello part just grinding away. Adding to the frustration in the situation. And after seeing the movie, I saw the behind the scenes that talked about that a bit. Obviously, it was intentional, but they even chose a cello as the instrument because they thought that it would have the most impact in the situation, which it really did. Yeah. Again, not a movie with flashy design as it really doesn't need it at all. I really just felt this movie as a dramedy about couples and people that ended up being a a lot deeper of an anal, I guess you could call it, than I ever expected. But even if I wasn't aware, I guess critics mostly think Olivia Wilde is a good director. So I I agree. I mean, based on this work.
SPEAKER_01Did you see Booksmark?
SPEAKER_02No, I saw the other movie.
SPEAKER_01Oh, right.
SPEAKER_02Don't worry.
SPEAKER_01Don't worry, darling. That's right.
SPEAKER_02But yeah.
SPEAKER_01Yeah. Each of her movies has a very distinctive style.
SPEAKER_02Yeah. Um, moving on to my rating. I gave this a four and a half for enjoyment and a five for quality.
SPEAKER_01Oh my god. Wait a minute.
SPEAKER_02Yeah. Since this is the first time I'm giving a perfect rating for either enjoyment or quality.
SPEAKER_05Oh my god.
SPEAKER_02I guess I should probably address that first. For the quality, I honestly just couldn't find any real flaw in this film that I felt wasn't down to personal preference.
SPEAKER_01Ah, gotcha.
SPEAKER_02When it comes to interactions and relationships or with other people in general, or maybe just personal feelings towards actors. The movie knew exactly what it wanted to do. Again, there wasn't anything flashy visually about this movie, but the acting, the cinematography, the sound, like all the pieces that most people find essential in a film like this were all there and incredibly well done. But yeah, beyond that, I really did enjoy this movie a whole lot. I only deducted a half point because as a child of divorce, I really hate seeing people argue.
SPEAKER_04Yeah, sorry.
SPEAKER_02That's kind of what I was referring to when I was talking about trying not to let personal preference affect my quality rating.
SPEAKER_00Uh, yeah.
SPEAKER_02Yeah, as I mentioned, there's arguments running through a good third of the movie. And there's some later in the movie as well, but they're a bit more spread out, maybe even kind of decreasing over the latter two-thirds of the movie. Personally, I'm not one of those people who walks out on movies, no matter how awful they are. But I will say this movie probably made me feel more uncomfortable than any movie I've seen in a long while.
SPEAKER_00Yeah, yeah.
SPEAKER_02Uh yeah, potentially even more than any movie we've reviewed on the podcast ever. Uh in feeling that way, I also had to recognize that also meant the actors did such a great job with their roles that I couldn't help but feel the way I did.
SPEAKER_01Yeah, yeah.
SPEAKER_02As for related recommendations, I guess if you want to watch another kind of intense but less funny movie about toxic relationships or failing marriages or whatever, maybe see the 2019 movie Blue Valentine, starring Ryan Gosling and uh White Michelle Williams. Oh, that's a sad one. But I mean, not the one from Destiny's Child. I don't think it's as good as The Invite, but definitely more dramatic and serious, I think.
SPEAKER_01I couldn't finish that one.
SPEAKER_02It's tough, man, but I feel like it's another one of those movies where the characters just kind of face the reality of what's happening.
SPEAKER_04Yeah.
SPEAKER_02And yeah, it it you're kind of just sitting there watching it unfold, regardless of how ugly it gets. So yeah. What did you think of this movie?
SPEAKER_01Okay, well, I went into the movie pretty convinced I wasn't gonna like it. I gotta be convinced. Partly because I didn't like Don't Worry Darling. Partly because, yeah, the Edward Norton thing. I I don't think he's a bad actor at all. I don't know anything about him as a human, except it does rub me the wrong way that he rewrites all of his dialogue. That's just my own thing as someone who writes for a living and knows how writing is part of something much bigger and everything affects everything else. Uh yeah. But also, I feel like I just picture him being the rich douchebag from Glass Onion all the time. I see him that way in my mind's eye. But anyway, I also generally don't like movies where people are fighting. Um, like The Roses, which we saw recently, is another example. I was pretty miserable with that one.
SPEAKER_05Yeah.
SPEAKER_01So when the trailer showed this unhappy couple invited to swing with neighbors, I was like, okay, I think I know what this movie is. And honestly, for the first 30, 40 minutes, I thought I was right. Seth Rogan and Olivia Wilde's relationship is exhausting. Seriously exhausting. They are constantly bickering, misunderstanding each other, making little digs. Olivia Wilde's character is so anxious, she can't hide anything she's feeling. And Seth Rogan is one of those people who thinks being brutally honest automatically makes him right. Oh, right, right. I was genuinely worried. Like, oh my God, how long is this gonna go on? Is this gonna be an awkward, uncomfortable slog? And I think also I've been thinking about what it is about movies like that that I don't like. It's not just because conflict is uncomfortable, it's because I think when people are in that kind of conflict, they're not budging one way or the other. So it doesn't feel dramatic to me. But okay, this movie really surprised me because once Penelke Cruz and Edward Norton show up, that's when the movie just completely turned around. Instead of seeing this miserable couple and the two of them just being like, eesh, okay, let's get out of here, they like lean in fully. There's a line also in the trailer where Edward Norton goes, I love contention. Relationships. And honestly, that's just like the whole movie. They really dig in. This couple, this swinging couple, is just in the mess of emotions. And once they get there, it's nice because we finally get to see them separated from that dynamic and get to understand who they are as individuals some more. I think also this movie just really isn't that much about swinging. Like it is a little bit. That's the setup, but it's really interested in how people get stuck in relationship patterns. Rogan and Wilde are so convinced that they already know what the other person thinks and wants and feels, that they just stop being curious. They stop asking each other questions. Penelope Cruz, oh my God, she was easily my favorite part of the movie because she is the opposite. She is cool as fuck, empathetic, observant. And instead of assuming she understands people, she asks them a lot of questions. And that's when things really open up a whole lot. Also, oh my gosh, there's this one moment I couldn't stop thinking about. It's just a small line. Olivia Wilde is showing off her apartment renovation. And she says, We had subway tiles before, but we put new subway tile up. And she says, I like things that are different, but not too different. I thought that was so funny because looking back, that's her whole character. She desperately wants things to change, but she can't quite imagine what real change would look like. So she's trying to change everything while keeping the basic structure the same. So I thought that was a really cool metaphor. I also love that the movie doesn't vilify anyone. I completely understood everyone's perspectives. And I loved just getting to see a real spectrum of them in and out of the dynamic and how they work through things. Also, okay, I'm sure I'm not the first reviewer to say this, but uh people being surprised that their neighbors are swingers in San Francisco, like really in San Francisco? That's like the least surprising thing that you could imagine in a neighbor.
SPEAKER_02They got so much money that they would get bored.
SPEAKER_01I know, seriously. But yeah, I really liked the movie. I think for me, I gave it a little bit lower on enjoyment. And a lot of that is almost the math of how much I didn't enjoy the beginning to how much I enjoyed the rest. So I gave it uh 3.5 enjoyment. But again, I would say if you can get through that initial part where they're fighting, you really get rewarded in the end.
SPEAKER_02Yeah, I think the payoff definitely outweighs the stress that you're put under for like man, I would say a good 30 minutes at least.
SPEAKER_01Yeah, it was rough, it was rough.
SPEAKER_02Yeah, I hate watching that stuff, but it goes to show you how good it really was if I was willing to put up with it and come out the other end to be like, damn man, it's worth it. Yeah, and sit there, suffer through it because what you get out of it is so unlike so many experiences at the movie theater nowadays, especially for us people who see so many movies. I really think that this is one of those movies where it's literally just trying to show you how people are in the environment that they're in or the ones that you would find them in, and nothing more. It's not trying to be judgmental, it's not trying to spell at all problems for them. It may call out their failure to notice certain things, but it doesn't make that the basis of what needs to happen in order to come to any sort of solution, nor does it focus on trying to provide one or answer a question like that. It literally is just showing you people in very real scenarios, and I think that while we as people who don't make movies want to think that something like that sounds really easy to do, the reality of it is that there is a tendency to try to solve problems or make things feel satisfying by the end. But sometimes I think, especially when the delivery is just so well done, it's hard to deny that there's so much value that you can take away from a performance and nothing else.
SPEAKER_01Yeah, it was really cool. Oh my god, and did I say my quality rating is a four? I thought I did, but I just did things out of order. But yeah, I just loved the look, the performances, all around great movie. So yeah, definitely recommend it.
TV Episode Recap: Silo - Season 3, Episode 3 - "A Dark Web"
SPEAKER_01Hey Sush, what's going on with those old timey people from the future buried deep, deep, deep, deep, deep in the ground?
SPEAKER_02Oh, uh I think you're referring to Scyla.
SPEAKER_01Oh, that's the one, yes.
SPEAKER_02Well, we are on episode three of season three. The episode opens with Julia deciding she can no longer trust the version of reality being presented to her, having secretly stopped taking her memories suppressing vitamins. She takes Jerry up on his offer to give her some freedom, asking to walk the silo by herself. Meanwhile, we cut to our first scene and the flashback storyline for the episode. Daniel investigates a mysterious mission that involved his sister Charlotte and other military pilots. He attends a memorial event and then speaks with the father of Juan, one of the deceased pilots. He learns that recordings may exist of the squadron's final communications. Juan's father ends their conversation to greet the captain of the Nimitz, a Navy aircraft carrier that Charlotte and her team used as their base of operations. Once he spots him, but what he's revealed to Daniel deepens his suspicions that the government has concealed what really happened during the year. Back in the silo, Camille learns that Juliet has been refusing her medication from her nurse. Following this, we see someone drop off a note to Shirley that happens to be from Juliet asking for help. Nox enters soon after, with Shirley panicking and crumpling up the note. Nox eventually senses her awkwardness, but she tells him everything's alright. Elsewhere, Juliet begins her investigation, her primary goal, locate Lucas Kyle, whom she believes may hold crucial answers about the silo and her lost memories. She begins by stopping by to speak with, or rather, question, Sheriff Billing's wife, Kathleen, but she doesn't even believe Lucas is alive, but seemingly convincing Juliet in the process of explaining why she thinks that's the case. We cut back to Camille meeting with the algorithm to pass on her findings from the nurse, leading it to respond by pushing for the deployment of vitamin D plus, a far more aggressive memory erasing compound intended for the silos water supply. Camille hesitates, but the algorithm makes it clear that the alternative safeguard measure would likely be significantly more drastic. Returning to the flashback timeline, we follow up with Helen arriving at her office that she's on the phone with Daniel, who's updating her on his findings, but she soon finds her investigation carries consequences as we witness her being fired from her job. As she's being escorted out of the building by security, she happens to see an elderly man in a suit speaking with management, who looks suspiciously similar to the man we saw accompanying the captain of the Nimitz at the funeral that Daniel attended. Meanwhile, back in the silo, we see Sheriff Paul Billings with Orla Kent's sister, stopping by her parents' place to reassure them that he's working to find her. Paul asks her a few more questions as they leave her parents, revealing that Orla recently started dating a new boyfriend before Paul leaves her to continue his investigation. Back in the flashback timeline, we see that despite her setback, Helen continues helping Daniel in his pursuit of the truth. Together, they seek out a source connected to the missing flight recordings and, following a meeting with him, become increasingly convinced that a major cover-up is underway. Cutting back to the silo, we follow up with Juliet as she makes a surprise visit to Robert Sims while he's dropping his son off at school. He isn't too happy about this, given that his son's still traumatized by his last encounter with her before she lost her memory. However, Juliet impressively leverages her memory loss in her plea to Robert to provide any information he has on Lucas Kyle, which he eventually does, leading her to storm off to continue with her investigation. Robert, however, seems really bothered by the incident and pulls his son out of school, apparently calling for Camille to meet with him. When she stops by to see that their son isn't at school, he tells her that they need to have a family day, but she's obviously too preoccupied with everything going on with the algorithm and its plans. Elsewhere, Sheila spots Juliet storming down the stairs toward the mines. As she tries to get on a rope to descend below the gap, Sheila catches up with Juliet as she's stopped by a man guarding access to them and eventually manages to make it past them. Sheila radios Knox, who happens to be where Juliet lands, ascending to the end of the rope, and he notifies her Lucas Kyle isn't there, but she's still not convinced. We cut back to Camille and Robert, who end up having an argument as the combined stress of her having to carry out the algorithm's request to distribute the vitamin D plus, and him trying to protect their son from further trauma become too much for them to suppress. Camille reveals the algorithm's request to Robert as she demands he continue to protect their son, no matter what she may be asked to do, even if it means forgetting them. Damn. Their meeting is cut short by someone stopping by to notify Camille that Juliet has gone below the gap. As Juliet follows the clues, pressing deeper into her search for Lucas. Her growing independence alarms Camille and the authorities, who intensify their efforts to monitor her, eventually leading to Camille announcing a fake rodent infestation so they can smoke out Lucas. Julia continues further, managing to get her hands on a gas mask, even as she's faced with Camille's efforts to smoke Lucas out. But unfortunately, it's taken from her by someone attempting to escape themselves, leaving her to pass out from smoke inhalation. The things seem bleak. Juliet's investigation finally brings her into contact with Lucas Kyle himself, as he suddenly appears out of nowhere to rescue her from the smoke. Despite the memory loss she's been suffering, she recognizes him immediately, underscoring the occurrence of their past connection. Their reunion confirms that Lucas is alive and sets the stage for further revelations about the silo's hidden history as Knox arrives to help Julia and the police chase after Lucas, but he eventually slips away. We also see that Paul's investigation has come to an end as he's identifying one of the bodies found during the commotion, which unfortunately turns out to be Orla Kent. Ah, damn. We cut back to a brief scene to close out the flashback timeline for this episode, revealing once Daniel and Helen return to where they met their source, they see that his place is completely ransacked and he's not there anymore. We then end the episode with Camille meeting with the algorithm yet again, and she's giving an ultimatum to kill Juliet in order to save the rest of the silo, which she eventually agrees to before we cut to the credits.
SPEAKER_01Man, that's one hell of a way to end an episode.
SPEAKER_02Yeah. What do you think?
SPEAKER_01I mean, I loved it. I feel like all the storylines are moving. The stuff going on in Washington, DC is getting crazy. Yeah, silo mystery's getting crazy, Juliet's investigation's picking up speed. It's like every time they answer one question, something else comes up. It's kind of crazy. And oh my God, my biggest takeaway is just what is the algorithm's deal? Because at first I was envisioning it, and this could be wrong for people who read the books, but I was picturing it like chat GPT with a God complex. Every episode, though, it gets creepier. I mean, it starts talking about wiping out 10,000 people like it's deciding to update Windows tonight. And it starts talking about the safeguard. And every time someone even thinks about contacting another silo, the algorithm's basically like, oh, really? Okay, cool. I guess everyone dies.
SPEAKER_02Yeah, we gotta gas them all.
SPEAKER_01Yeah. Who is the algorithm serving? Because theoretically, the silos were created to quote save humanity. But if the algorithm's solution to people discovering the truth is kill everyone, then clearly preserving human life is not the top priority. So I just kept asking, why is it better? Yeah. It's like who benefits, man? You know, and if what's the difference between people dying inside the silo and why kill them inside the silo to keep them from dying outside of the silo?
SPEAKER_02I think it's more just so they can study stuff. I don't think it's necessarily that they need to murder them in one place over another. I think it's just more so they have a record of what the effects are over time. I mean, they did say that this has happened, what, for like three centuries?
SPEAKER_01Yeah.
SPEAKER_02So I have a feeling there's some data collection happening.
SPEAKER_01Ooh, oh my God. Crazy. Crazy. Another note here, the character work I thought was really cool. Camille's always been one of those characters that I can never quite get a read on. Last season, she was playing both sides, and I never quite got why. And this episode, we got an answer, and I loved it. Finding out that she actually admired Julia and she secretly wanted someone to uncover the truth. It just made her behavior make more sense. But then watching her immediately turn around and basically sentence a bunch of people to death via rat poison because she believes that's what it takes to save the silo. I mean, the contradictions makes her interesting. And I really liked um this stuff with her husband, Robert Sims, as well. I was not expecting him to be one of my favorite parts of the episode, but he really was impacted by that conversation with Juliet where she said she didn't remember what it felt like to have a father. Because up till then, to me, forgetting memories, like it seemed a little more abstract. To hear that someone would not only forget everything about their father, but what the feeling of a father is, that's really horrifying. And then immediately Sims becomes obsessed with making memories with his son because he realizes memories can like literally disappear. Um, I really liked the mind sequence. I get so freaked out by these silos sometimes, man. Watching the gas in the tunnels, that was terrifying. People were literally climbing over each other trying to escape, and it just was a brutal sequence. Then, of course, Juliet being who she is gives her mask away to someone else. Then Lucas shows up, like, wow, so much happened in one sequence. Although I've obviously got questions, I'm just excited that it's moving along. The only storyline I'm still trying to wrap my head around is the DC flashbacks. I do think they're getting more interesting. The reveal that Charlotte's squadron wasn't shot down, but may have had their planes taken over somehow. I thought that was really interesting. I'm really dying to hear more of the recording or more about it. Uh, I actually really liked the way they filmed that scene. It reminded me of the Werner Herzog documentary Grizzly Man, where you don't hear what's on a very scandalous, upsetting tape. Instead, you're watching someone react to it.
SPEAKER_02I have some thoughts on that, but I'll mention them in my ear.
SPEAKER_01Okay. Well, I'll hand it over to you. But yeah, just I just overall love the episode. Mysteries are getting bigger, characters are getting more complicated, the algorithm is baffling me. So yeah, I'm really locked in. So, what do you think?
SPEAKER_02Well, I love the flashback timeline stuff. I think it's just wild, though, that it seems like some of the parents might be aware that there were some unusual details surrounding the mission, like the replacement of all the audio equipment. That's kind of wild that they know all this information, but it doesn't seem like there's people watching them or anything like that. Maybe they're and they just don't know about it. But I just thought it was interesting that they knew so much and acted like they obviously didn't know anything or were unaware. But yeah. I know the last episode you were wondering if the nurse was gonna do anything, and yes, she was a fucking snitch.
SPEAKER_00Yeah, she stinks.
SPEAKER_02But I thought it was interesting that this episode really solidifies, even though Camille's scheming, it at least seems like it's somewhat in service of the majority of the people in the silos since the algorithm is constantly making it seem like, oh, we gotta escalate things.
SPEAKER_01Yeah, he's so manipulative.
SPEAKER_02So ready to do it. Let's see what else. Um, I love the flashback stuff, but I think my only gripe with it in this episode is that we don't get to hear what was on that cassette of the comms during the missions. I don't get why the source they meet with wouldn't have a tape deck to play it on.
unknownYeah.
SPEAKER_02Given that he makes the speech about keeping things on analog, implying that this is his recording. But people who actually use tape decks back in the day know that one that can record would also be able to play.
SPEAKER_00Yeah.
SPEAKER_02So either the person who wrote this never actually used a tape deck before.
SPEAKER_00Oh man.
SPEAKER_02Or one of the showrunners really wanted to showcase a Walkman. Because I don't get why they can't give these actors an opportunity to emote in response to hearing it with only their face and no dialogue, even if they play it out now, you know?
SPEAKER_01Yeah, they would still be doing the same act.
SPEAKER_02Yeah, so I don't understand the Walkman part of it. It was just kind of funny. I'm like, okay.
SPEAKER_01Well, it's interesting that in Grizzly Man, the one I was talking about, there's a reason why they do it that way. And that's why I think it does land better. So it's basically the real recorded death of a person. Someone who's related to him or connected to him doesn't want to hear it, but is curious. So her dog listens to it and she watches his face. So when you break it down, I did like that moment, but it is stronger in that example.
SPEAKER_02Yeah, it'd be also stronger if he didn't listen to it, but he doesn't do it and then he listens to it. So it's like, what's the point? I just thought that was weird. I don't think it takes away too much from the episode, but it's one of those moments that I gotta point out. Oh, what else? Oh, I really wasn't expecting Lucas Kyle in this episode. I know, just out of nowhere, yeah, especially running around and rescuing Juliet. But hey, vaguely recall he had a thing for Juliet, and I think she might have had feelings for him in return. I can't remember for sure because it's been a while. So while it's slightly creepy that he's probably been keeping tabs on her since disappearing, because how else are you just gonna come out of nowhere to save her like that?
SPEAKER_01Oh, they were cute together.
SPEAKER_02Yeah, I'm really looking forward to when we inevitably have either Juliet. Or Camille get a hold of him and reveal what he's been up to since we saw him last.
SPEAKER_05Yeah.
SPEAKER_02Given his crazy level of access that he supposedly got the last time we saw him. I'm hoping that he has even more crazy stuff to reveal than we've already found out this season so far. Let's see what else. A part of me kind of feels like the algorithm, even with it selecting a specific person in a silo and their shadow or whatever to work for it. Uh, I think it's ultimately just playing all the humans anyway, right?
SPEAKER_01Yeah, one way or another.
SPEAKER_02Yeah, I mean to me, it seems like it's clear to the algorithm that the easiest way to handle this situation as quickly as possible would be to just have Julia killed. I mean, I don't think it takes the algorithm that long to come to that conclusion. At this point, even if she's a martyr, there's not a whole lot of people who are aware of and willing to continue with her investigations. So I just don't understand why it's taking so long, I guess. I really enjoyed the episode, but I think the pacing might have been a bit too rapid during the last quarter or so of the episode. It was a lot, yeah, especially given how many new people we've met from Mechanical since the start of the season.
SPEAKER_01Yeah, lots of mechanical.
SPEAKER_02Yeah, it was just hard for me to keep track of everyone that Juliet engages with outside of Shirley and Knox. And I just remember the first time I watched this episode, I don't think I picked up quite as many details as far as revelations or maybe clues leading towards them, which I think it was down to the fast pacing near the end. So I'm glad that I eventually re-watched the episode and just hope that we kind of even out the pacing from episode to episode, at least.
SPEAKER_00Yeah.
SPEAKER_02Since I really do enjoy the show, but I also feel like it's one of those Apple TV shows where you really do have to pay attention to almost every moment in an episode in order to pick up all the details you can from it. So yeah, just maybe a little more consistency, but overall, I think uh there's definitely a lot more things to like on the show still than dislike. So yeah, looking forward to the upcoming episodes.
SPEAKER_00Yay.
SPEAKER_04Um
What We're Watching Next
SPEAKER_04Ashley, what are you watching next?
SPEAKER_01Next week, we are watching Motor City, which looks like a grimy muscle car 70s action movie with barely any dialogue.
SPEAKER_02Oh, and a lot of slow-mo, it looks like.
SPEAKER_01Oh, slow-mo.
SPEAKER_02Zach Snyder. Take that.
SPEAKER_01Oh man. And then in another stylish movie, we've got her private hell, which hopefully, no, it definitely won't be my private hell because Nicholas Rinning Ruffin is one of my all-time favorite directors.
SPEAKER_02Cool. And for TV, we'll be continuing on with Silo, season three, episode four.
SPEAKER_01Yay!
SPEAKER_02So yeah, that's that.
SPEAKER_01Excellent.
Outro
SPEAKER_01Well, thank you so much for tuning in, guys. We really, really appreciate you hanging out. And if you're listening to this at the end of the episode, ooh, thank you.
SPEAKER_02Yeah, and make sure to subscribe, rate, and review. Preferably positive. Like how I was positive that the Odyssey was gonna make money on the box office. But yeah, follow us on social media, TikTok, Instagram, Facebook. We just put up a bunch of videos and stuff. It's cool. Other than that, just thank you, and we'll catch you again next week.
SPEAKER_00Thanks. Bye guys.
